Standing Tall. The singer might imagine being suspended from the top of the head by a string, maintaining a feeling of tallness so that it’s almost as if the feet are just barely touching the floor. Feet are about shoulder width apart, with one foot slightly in front of the other. One knee should remain unlocked (for one thing, to avoid the risk of fainting). Wth arms loosely hanging at the sides, rotate the shoulders forward, then up, then straight back, and finally straight down to a resting state. This final position will render the chest in a relaxed state of height. This should be the default singing posture, and is especially important to maintain on exhalation or phonation.
Inhalation is received not in the chest, but in the area just above the pelvis and all around the back just above the buttocks. Think of an inner tube which inflates with inhalation. Ideally after weeks, months and years of practice, such an inhalation will seem to inflate the lowest part of the rib cage and the area below it, and during exhalation/phonation, this inflation will be at least partially maintained.
Exhalation/Phonation – The Tube of Toothpaste. Here’s a mental image often proffered by voice teachers, and one I have found invaluable: When you squeeze a tube of toothpaste from the middle, the middle section deflates, much the way the chest will deflate if we try to expel the breath from our chest or upper abdomen – this is not conducive to good singing technique!
On the other hand, if you squeeze the tube from the very bottom, the entire portion above this inflates and maintains inflation. Think of expelling your breath during singing in this same way: All of the outgoing breath energy should originate from your pelvis, with a constant sense of sure and steady motion. (Singing is always about motion, never about locking anything). I especially find it helpful as I produce sound to think of this contracting motion from each side (above each hip) rather than from the center front or center back.
Freedom from Tension. When you support your breath in the way I’ve described here, it will be easier to think of everything from above the pelvis to the top of the head to be as loose and tension-free as it can possibly be and still function as it needs to. This includes all the muscles of the chest, shoulders, neck, throat, tongue, face and head!
The tongue and the lower jaw are two especially common sources of undue tension for singers. Remember that the tongue musculature extends all the way back into the throat. Think of muscular freedom all the way back, letting the tongue lie flat in the mouth, with the tip resting against the back of the lower front teeth.
As for the lower jaw, it should be loose and capable of mobility at all times when singing. You can test this periodically. Try gently moving the jaw inward or sideways while phonating. If it moves freely and easily during phonation, it is tension-free, ideally with proper breath support allowing for this freedom everywhere. But this will take some consistent practice and patience – keep at it!
With a little practice in mental pictorialization, you’ll soon be able to sense that freedom of tension as you allow the sound to resonate in its own way through your upper body.
RESONANCE AND ROUNDNESS – ACHIEVING THE BALANCE
Resonance alone, without roundness, will result in a nasal sounding tone – all in all, not the most damaging kind of singing, but not a pleasant sound either. Conversely, roundness alone without resonance will be apt to sound woolly, swallowed, muffled and rather lifeless. When we achieve just the right balance between the two, the resulting synergy can be spine-tingling for the listener.
Resonance of Tone – Resonance is what gives our singing tone its carrying power. Any great opera or classical singer must be able to carry their sound, acoustically and unmiked, over a full orchestra, to be audible throughout the theater or auditorium.
If we imagine singing tone as a knife blade, we may think of two components of tone: resonance and roundness. Roundness is analogous to the size of the blade, and resonance to its edge. Resonance is the sharp “cutting edge” of the sound, the element that allows the voice to cut through an orchestra, for example, and soar over it to the ears of the audience.
Think of singing as speaking. The consonants especially should be delivered from the forward part of your mouth, from the lips, the front teeth and the tip of the tongue. This is a prerequisite to resonance. Another is freedom from tension in the muscles, bones and sinews of the skull, neck and upper body. Tension inhibits resonance, which must emanate from everywhere, but especially from the face and head. Just as the consonants are delivered from the forward areas of the mouth, the vowel sounds should resonate from the “mask” area of the face – nose, eyes, forehead, and even the top of the head.
Humming, the Great Resonance Enabler. Humming should be an essential part of our warm-up, as it connects us sensorially with forward placement and resonance. Always hum gently, with lips together and teeth apart – in other words, with an open throat and a loose tongue and lower jaw. (And of course, remember proper breath support!) Feel the resonance not just over the nasal area, but more broadly everywhere from forehead to chin.
Roundness of Tone. Roundness is what gives size, color and warmth to the tone. It defines the character of the sound, its richness and identity.
The Yawn Effect. Roundness is essentially about openness at the back of the mouth and the throat. Think of yawning, and especially about the feeling just leading up to an actual yawn. It’s a feeling of expansion in progress back there. (Even the tongue lies down in submission, as we have probably noticed when we see a dog or cat yawn.) Such expansion must never be held or locked, but induced and encouraged. Think of it as a process rather than a finished state. One useful method for this is to think of inhaling the first vowel you will sing. Inhale with an open mouth and nose, and let the vowel shape the mouth.
Gathered Vowels. Endemic to many amateur-level choral groups (including in our Jewish choral community) is a horizontal, mouthy, “uncultured” approach to sung vowels, where the mouth opening is spread too wide. Such vowel spreading mirrors natural speech, and most singers are quite unaware that their vowels are spread, or of how much their sound could be improved by gathering/narrowing. Vowel spreading robs the singing tone of its potential warmth, richness, vibrancy and carrying power, and it can be unduly taxing on the voice. Why is this so? It is simply a reality relating to the acoustics of the human vocal structure and apparatus. Spreading the mouth for vowels inhibits the optimum acoustical setup for efficient vocal production.
Keeping our vowels gathered means simply maintaining the mouth opening within a width roughly not exceeding that of its relaxed state. If you have your lips closed and relaxed, with a loosely hanging lower jaw keeping the teeth apart, you can feel the width to which you’ll want to restrict all of your vowels. But remember not to force or lock your mouth. Practice shaping all your vowels within this width, but in a liberated, tension-free way.
Line. Here’s where vocal technique and musicianship converge. Musically, line is the shaping and seamlessness of the vocal phrase through both vowels and consonants, an imparted sense of constant forward movement and arrival. Technically, it is breath energy that is the engine propelling the vocal machine. Steady breath energy is essential to the seamlessness and shaping of a line.
If we remember the simple principle that singing is the art of inducing, never forcing, we can never go too far wrong. Join Email List